AP Art History Chapter 14 Notes PDF

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Gardner's Art through the Ages Chapter 14 Lecture, Patricia Morchel...

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Chapter Intro - Renaissance: French, “rebirth.” The term used to describe the history, culture, and art of 14th- through 16th-century western Europe during which artists consciously revived the classical style - Naturalism: The style of painted or sculptured representation based on close observation of the natural world that was at the core of the classical tradition - Art historians debate whether the art of Italy between 1200 and 1400 is the last phase of medieval art or the beginning of the rebirth, or Renaissance, of Greco-Roman naturalism - The pivotal figure of this age was the Florentine painter GIOTTO DI BONDONE (ca. 1266–1337), whose masterwork was the fresco cycle of the Arena Chapel - Some scholars have suggested Giotto himself may have been the chapel’s architect, because its design so perfectly suits its interior decoration - In contrast to the common practice of his day, Giotto based his method of pictorial expression on observation of the natural world—the approach championed by the ancient Greeks and Romans but largely abandoned in the Middle Ages - By stressing the preeminence of sight for gaining knowledge of the world, Giotto and his successors contributed to the foundation of empirical science - They recognized that the visual world must be observed before it can be analyzed and understood 13th Century - Classical: The art and culture of ancient Greece between 480 and 323 bce - When the Italian humanists of the 16th century condemned the art of the late Middle Ages in northern Europe as “Gothic”, they did so by comparing it with the contemporaneous art of Italy, which consciously revived classical - Italian artists and scholars regarded medieval artworks as distortions of the noble art of the Greeks and Romans Sculpture - Italian admiration for classical art surfaced early on at the court of Frederick II, king of Sicily (r. 1197–1250) and Holy Roman emperor (r. 1220–1250) - Renovatio: Latin, “renewal.” During the Carolingian period, Charlemagne sought to revive the culture of ancient Rome (renovatio imperii Romani) - Pulpits: A raised platform in a church or mosque on which a priest or imam stands while leading the religious service - Trefoil: A triple-lobed arch - Nicola d’Apulia - better known as NICOLA PISANO - received his early training in southern Italy under Frederick’s rule - Nicola specialized in carving marble reliefs and ornamentation for large pulpits - Pulpit of the baptistery - Pisa, Italy

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NICOLA PISANO Marble Nicola Pisano’s Pisa baptistery pulpit retains many medieval features, for example, the trefoil arches and the lions supporting columns, but the figures derive from ancient Roman sarcophagus reliefs - The large capitals with two rows of thick overlapping leaves crowning the columns are a Gothic variation of the Corinthian capital - Annunciation, Nativity, and Adoration of the Shepherds - NICOLA PISANO - relief panel on the baptistery pulpit - Marble - Classical sculpture inspired the faces, beards, coiffures, and draperies, as well as the bulk and weight of Nicola’s figures - The Nativity Madonna resembles lid figures on Roman sarcophagi - Nicola’s son, GIOVANNI PISANO (ca. 1250–1320), likewise became a sought-after sculptor of church pulpits - The son’s version of the subject offers a striking contrast to his father’s thick carving and placid, almost stolid presentation of the religious narrative - Giovanni arranged the figures loosely and dynamically - Annunciation, Nativity, and Adoration of the Shepherds - GIOVANNI PISANO - Relief Panel on the Pulpit of Sant’Andrea, Pistoia, Italy - Marble - The French Gothic style had a greater influence on Giovanni Pisano, Nicola’s son - Giovanni arranged his figures loosely and dynamically - They display a nervous agitation, as if moved by spiritual passion - Monastic orders: An organization of monks living according to the same rules, for example, the Benedictine, Franciscan, and Dominican orders - Mendicants: In medieval Europe, friars belonging to the Franciscan and Dominican orders, who renounced all worldly goods, lived by contributions of laypersons (the word mendicant means “beggar”), and devoted themselves to preaching, teaching, and doing good works - Confraternities: In Late Antiquity, an association of Christian families pooling funds to purchase property for burial. In late medieval Europe, an organization founded by laypersons who dedicated themselves to strict religious observances Painting and Architecture - The third major stylistic element in late medieval Italian art was the Byzantine tradition - Maniera greca: Italian, “Greek manner.” The Italo-Byzantine painting style of the 13thcentury - Tempera: A technique of painting using pigment mixed withegg yolk, glue, or casein; also, the medium itself

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One of the leading painters working in the Italo-Byzantine style, or maniera greca (Greek style), was BONAVENTURA BERLINGHIERI (active ca. 1235–1244) of Lucca - His most famous work is the Saint Francis Altarpiece Altarpiece: A panel, painted or sculpted, situated above and behind an altar Stigmata: In Christian art, the wounds Christ received at his crucifixion that miraculously appear on the body of a saint Saint Francis Altarpiece - BONAVENTURA BERLINGHIERI - San Francesco, Pescia, Italy - Tempera on Wood - Berlinghieri painted this altarpiece in the Italo-Byzantine style, or maniera greca, for the mendicant (begging) order of Franciscans - It is the earliest known representation of Saint Francis of Assisi - Berlinghieri’s Saint Francis Altarpiece also highlights the increasingly prominent role of religious orders in late medieval Italy Many Italian individuals were known by their place of birth or adopted hometown. Nicola Pisano was “Nicholas the Pisan,” Giulio Romano was “Julius the Roman,” and Domenico Veneziano was “the Venetian.” One of the first artists to break from the Italo-Byzantine style that dominated 13thcentury Italian painting was Cenni di Pepo, better known as CIMABUE - Cimabue challenged some of the major conventions of late medieval art in pursuit of a new naturalism Madonna Enthroned with Angels and Prophets - CIMABUE - from Santa Trinità, Florence - Tempera and Gold Leaf on Wood - Cimabue was one of the first artists to break away from the maniera greca - Although he relied on Byzantine models, Cimabue depicted the Madonna’s massive throne as receding into space

14th Century - In the 14th century, Italy consisted of numerous independent city-states, each corresponding to a geographic region centered on a major city - Most of the city-states, such as Venice, Florence, Lucca, and Siena, were republics— constitutional oligarchies governed by executive bodies, advisory councils, and special commissions - The sources of wealth varied from state to state - Italy’s port cities expanded maritime trade, whereas the economies of other cities depended on banking or the manufacture of arms or textiles - The outbreak of the Black Death (bubonic plague) in the late 1340s threatened this prosperity

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The bubonic plague had a significant effect on art It stimulated religious bequests and encouraged the commissioning of devotional images - Another significant development in 14th-century Italy was the blossoming of a vernacular (commonly spoken) literature, which dramatically affected Italy’s intellectual and cultural life - Latin remained the official language of Church liturgy and state documents - However, the creation of an Italian vernacular literature (based on the Tuscan dialect common in Florence) expanded the audience for philosophical and intellectual concepts because of its greater accessibility Renaissance Humanism - The development of a vernacular literature was one important sign that the essentially religious view of the world dominating medieval Europe was about to change dramatically in what historians call the Renaissance - Although religion continued to occupy a primary position in the lives of Europeans, a growing concern with the natural world, the individual, and humanity’s worldly existence characterized the Renaissance period - The notion of the Renaissance representing the restoration of the glorious past of Greece and Rome gave rise to the concept of the “Middle Ages” as the era falling between antiquity and the Renaissance - Humanism: In the Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty - Humanism was more a code of civil conduct, a theory of education, and a scholarly discipline than a philosophical system Giotto - Critics from Giorgio Vasari to the present day have regarded Giotto di Bondone as the first Renaissance painter - A pioneer in pursuing a naturalistic approach to representation based on observation, he made a much more radical break with the past than did Cimabue, whom Vasari identified as Giotto’s teacher - Madonna Enthroned - GIOTTO DI BONDONE - from the Church of Ognissanti, Florence - Tempera and gold leaf on wood - Giotto displaced the Byzantine style in Italian painting and revived classical naturalism - His figures have substance, dimensionality, and bulk, and give the illusion they could throw shadows - Although still portrayed against the traditional gold background, Giotto’s Madonna rests within her Gothic throne with the unshakable stability of an

ancient marble goddess -

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Fresco - Although the finished product visually approximates buon fresco, the plaster wall does not absorb the pigments, which simply adhere to the surface, so fresco secco is not as permanent as buon fresco - Arricio: In fresco painting, the first layer of rough lime plaster applied to the wall - Sinopia: A burnt-orange pigment used in fresco painting to transfer a cartoon to the arriccio before the artist paints the plaster - Cartoon: In painting, a full-size preliminary drawing from which a painting is made - Intonaco: In fresco painting, the last layer of smooth lime plaster applied to the wall; the painting layer - Giornate: Italian, “day.” The section of plaster that a fresco painter expects to complete in one session Grisaille: A monochrome painting done mainly in neutral grays to simulate sculpture Lamentation - GIOTTO DI BONDONE - Arena Chapel, Padua, Italy - Fresco - Giotto painted Lamentation in several sections, each corresponding to one painting session - Artists employing the buon fresco technique must complete each section before the plaster dries - Giotto presented one of the most impressive and complete Christian pictorial cycles ever rendered - Figures seen from the back, which are frequent in Giotto’s compositions, represent an innovation in the development away from the formal Italo-Byzantine style Chiaroscuro: In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling Mystery plays: A dramatic enactment of the holy mysteries of the Christian faith performed at church portals and in city squares Sacre rappresentazioni: Italian, “holy representation.” A more elaborate version of a mystery play performed for a lay audience by a confraternity

Siena - Among 14th-century Italian city-states, the Republics of Siena and Florence were the most powerful - The works of DUCCIO DI BUONINSEGNA (active ca. 1278–1318) represent Sienese art at its most supreme - Virgin and Child Enthroned With Saints - DUCCIO DI BUONINSEGNA

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Principal Panel of the Maestà Altarpiece, From Siena Cathedral, Siena, Italy Tempera and Gold Leaf on Wood Duccio derived the formality and symmetry of his composition from Byzantine painting, but relaxed the rigidity and frontality of the figures, softened the drapery, and individualized the faces Pinnacles: In Gothic churches, a sharply pointed ornament capping the piers or flying buttresses; also used on church facades Predella: The narrow ledge on which an altarpiece rests on an altar Life of Jesus - DUCCIO DI BUONINSEGNA - 14 Panels From the Back of the Maestà Altarpiece - From Siena Cathedral, Siena, Italy - Tempera and gold leaf on wood - On the back of the Maestà altarpiece, Duccio painted Jesus’ passion in 24 scenes on 14 panels, beginning with Entry into Jerusalem , at the lower left, through Noli me tangere, at top right Despite these changes revealing Duccio’s interest in the new naturalism, he respected the age-old requirement that as an altarpiece, Maestà would be the focus of worship in Siena’s largest and most important church, its cathedral, the seat of the bishop of Siena - As such, Duccio knew Maestà should be an object holy in itself—a work of splendor to the eyes, precious in its message and its materials Punchwork: Tooled decorative work in gold leaf Betrayal of Jesus - DUCCIO DI BUONINSEGNA - Panel on the Back of the Maestà Altarpiece - From Siena Cathedral, Siena, Italy - Tempera and Gold Leaf on Wood - In this dramatic depiction of Judas’s betrayal of Jesus, the actors display a variety of individual emotions - Duccio here took a decisive step toward the humanization of religious subject matter Facade: Usually, the front of a building; also, the other sides when they are emphasized architecturally Rose window: A circular stained-glass window Pinnacles: In Gothic churches, a sharply pointed ornament capping the piers or flying buttresses; also used on church facades Bays: The space between two columns, or one unit in the nave arcade of a church; also, the passageway in an arcuated gate Elevation: In architecture, a head-on view of an external or internal wall, showing its features and oftenOrvieto Cathedral other elements that would be visible beyond or before the wall

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Chancel arch: The arch separating the chancel (the apse or choir) or the transept from the nave of a basilica or church Orvieto Cathedral - LORENZO MAITANI - Orvieto, Italy - The pointed gables over the doorways, the rose window, and the large pinnacles derive from French Gothic architecture, but the facade of Orvieto Cathedral masks a traditional timber-roofed basilica - Characteristically French are the pointed gables over Orvieto Cathedral’s three doorways, the rose window and statues in niches in the upper zone, and the four large pinnacles dividing the facade into three bays - The outer pinnacles serve as miniature substitutes for the tall northern European west-front towers International styles: A style of 14th- and 15th century painting begun by Simone Martini, who adapted the French Gothic manner to Sienese art fused with influences from northern Europe. This style appealed to the aristocracy because of its brilliant color, lavish costumes, intricate ornamentation, and themes involving splendid processions of knights and ladies SIMONE MARTINI (ca. 1285–1344) was a pupil of Duccio’s and may have assisted him in painting Maestà Tracery: Ornamental stonework for holding stained glass in place, characteristic of Gothic cathedrals. In plate tracery, the glass fills only the “punched holes” in the heavy ornamental stonework. In bar tracery, the stained-glass windows fill almost the entire opening, and the stonework is unobtrusive Annunciation altarpiece - SIMONE MARTINI and LIPPO MEMMI - Siena Cathedral, 1333 - Tempera and gold leaf on wood - A pupil of Duccio’s, Martini was instrumental in the creation of the International style - Its hallmarks are elegant shapes, radiant color, flowing line, and weightless figures in golden, spaceless settings Triptych: A three-paneled painting, ivory plaque, or altarpiece. Also, a small, portable shrine with hinged wings used for private devotion Another of Duccio’s students, PIETRO LORENZETTI (active 1320–1348), contributed significantly to the general experiments in pictorial realism taking place in 14th-century Italy Birth of the Virgin - from the altar of Saint Savinus - Siena Cathedral, Siena, Italy - PIETRO LORENZETTI

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Tempera on wood In this triptych, Pietro Lorenzetti revived the pictorial illusionism of ancient Roman murals and painted the architectural members dividing the panel as if they extended back into the painted space - Campanile: A bell tower of a church, usually, but not always, freestanding - Battlements: A low parapet at the top of a circuit wall in a fortification - Parapets: A low, protective wall along the edge of a balcony, roof, or bastion - Corbels: A projecting wall member used as a support for some element in the superstructure. Also, courses of stone or brick in which each course projects beyond the one beneath it. Two such walls, meeting at the topmost course, create a corbeled arch or corbeled vault - Palazzo Pubblico - Siena, Italy - Siena’s Palazzo Pubblico has a concave facade and a gigantic tower visible for miles around - The tower served as both a defensive lookout over the countryside and a symbol of the city-state’s power - The painter entrusted with the major fresco program in the Palazzo Pubblico was Pietro Lorenzetti’s brother AMBROGIO LORENZETTI - Peaceful City - AMBROGIO LORENZETTI - detail from Effects of Good Government in the City and in the Country - east wall, Sala della Pace, Palazzo Pubblico, Siena, Italy - In the Hall of Peace of Siena’s city hall Ambrogio Lorenzetti painted an illusionistic panorama of the bustling city - The fresco served as an allegory of good government in the Sienese republic - Is a panoramic view of Siena, with its clustering palaces, markets, towers, churches, streets, and walls, reminiscent of the townscapes of ancient Roman murals - Peaceful Country - AMBROGIO LORENZETTI - detail from Effects of Good Government in the City and in the Country, east wall, Sala della Pace - Peaceful Country represents one of the first appearances of landscape in Western art since antiquity - This sweeping view of the countryside is one of the first instances of landscape painting in Western art since antiquity - The winged figure of Security promises safety to all who live under Sienese law Florence - Florin: The denomination of gold coin of Renaissance Florence that became an international currency for trade

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Like Siena, the Republic of Florence was a dominant city-state during the 14th century Revetment: In architecture, a wall covering or facing Santa Maria del Fiore - Florence, Italy - ARNOLFO DI CAMBIO and others - The Florentine Duomo’s marble revetment carries on the Tuscan Romanesque architectural tradition, linking this basilican church more closely to Early Christian Italy than to Gothic France Gothic architects’ emphatic stress on the vertical produced an awe inspiring upward rush of unmatched vigor and intensity - The French and German buildings express organic growth shooting heavenward, as the pierced, translucent stone tracery of the spires merges with the atmosphere - Florence Cathedral, in contrast, clings to the ground and has no aspirations to flight No individual element of Gothic churches seems capable of an independent existence. - One form merges into the next in a series of rising movements pulling the eye upward and never permitting it to rest until it reaches the sky The Florentine campanile is entirely different - Neatly subdivided into cubic sections, Giotto’s tower is the sum of its component parts - Not only could this tower be removed from the building without adverse effects, but also each of the parts—cleanly separated from each other by continuous moldings—seems capable of existing independently as an object of considerable aesthetic appeal Quatrefoil: A shape or plan in which the parts assume the form of a cloverleaf south doors of the Baptistery of San Giovanni - ANDREA PISANO - Florence, Italy - Gilded bronze - Andrea Pisano’s bronze doors have 28 panels with figural reliefs in French Gothic quatrefoil frames - The lower eight depict Christian virtues - The rest represent the life of Saint John the Baptist two details of Triumph of D...